11/7/2022 0 Comments Dmc devil may cry fuck you![]() ![]() Dante walks in a spectral realm, called Limbo here, the ground folds and swings skywards, like the streets in Inception. There’s much of the movie-coloured in DmC. ![]() Or the way that London is transformed, in 28 Days Later, into a lonely, alien place just by its daydream lighting and deserted streets. Take the island of The Beach, for instance, a dream of escape bubbling up from the clamour of the outside world, its edges soaked in surf. You can feel the touch of screenwriter Alex Garland, who co-wrote the game with Tameem Antoniades, in the scraping together of these disparate worlds. And they’ve always been at war.’) is illustrated with playground graffiti, like holy frescoes served up street style. The scene in which Dante’s brother, Vergil, explains to him the nature of things (‘There have always been angels there have always been demons. It grounds the fantasy in urban decay, and there’s a sort of spray paint poetry in the way the worlds mesh. Indeed, it’s ironic that, in DmC’s mythology, hero Dante has foregone his human half (Ninja Theory recast Dante’s mother as an angel, rather than a human), because the game has its nose in our world just as much as what lies above or beneath. They have been corrupted beyond recognition.’ Zing! Elsewhere, there are nods to John Carpenter’s They Live, as adverts, seen through the lens of the demon realm, reveal their true nature ‘home loans for you’ becomes ‘homeless for you,’ while billboards display more blunt messages like ‘obesity,’ ‘stupidity,’ and ‘consume,’ and, later on, when demonic tempers run hot, simply ‘Fuck You Dante.’ Those who work here are barely human any more. It all seethes with nasty little bits of satire at one point, there is a scene, in the spires of an infernal office building, in which one character says, ‘This is the finance wing. If not, there is another great reason to play DmC: for the laughs. Those people whose tastes were offended by Ninja Theory’s irreverence for Capcom’s traditions can, perhaps, now lay a cool flannel on their foreheads and dare to dream. Now that Devil May Cry 5 has returned the series to its older mythology and wafted DmC up onto a cloud of its own canon, it makes for an intriguing ‘what-if?’ one-shot. For one thing, it’s illuminating to see the similarities at play: the camera, the combat, and the world – tilted toward the everyday. Once you’ve finished Devil May Cry 5, you owe it yourself to venture back to DmC. What a wonderful, distorted reflection of the Devil May Cry series – a tipped hat and a raised finger. And where the hero dulls himself with drink. It’s a place where the divine is clawed at by the dingy, where the angels are scantily clad and swing on the poles of a nightclub. The city is a bog of debt, with adverts for bank loans that mortgage the soul (666% interest, a squint at the small print reveals). Citizens suck up energy drinks, the secret ingredient of which has been milked from the pap of a succubus, in order to keep them docile. To play DmC is to be planted in earthly dirt. Any relation they bare to the state of the human race is – presumably – purely coincidental. It was Hobbes, afterall, who described the life of man as ‘solitary, poor, nasty, brutish, and short.’ But while similar to Hobbes, these descriptors are, in fact, the rungs of the rating scale in DmC: Devil May Cry, which critiques the creativity of your violence. For any budding cynics who have read the work of Thomas Hobbes, the rhythm and timbre of these words might sound familiar. ![]()
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